"I still don't know mercy," said Elaine, "but I thought I knew what love was, and I don't expect to find my lover in a dirty old corridor full of underpeople."
"I don't mean that kind of love," laughed Baby-baby, brushing aside Mabel's attempted interruption with a wave of her hand-paw. The old mouse face was on fire with sheer expressiveness. Elaine could suddenly imagine what Baby-baby had looked like to a mouse-underman when she was young and sleek and gray. Enthusiasm flushed the old features with youth as Baby-baby went on, "I don't mean love for a lover, girl. I mean love for yourself. Love for life. Love for all things living. Love even for me. Your love for me. Can you imagine that?"
Elaine swam through fatigue but she tried to answer the question. She looked in the dim light at the wrinkled old mouse-hag with her filthy clothes and her little red eyes. The fleeting image of the beautiful young mouse-woman had faded away; there was only this cheap, useless old thing, with her inhuman demands and her senseless pleading. People never loved underpeople. They used them, like chairs or doorhandles. Since when did a doorhandle demand the Charter of Ancient Rights?
"No," said Elaine calmly and evenly, "I can't imagine ever loving you."
"I knew it," said Crawlie from her chair. There was triumph in the voice.
Charley-is-my-darling shook his head as if to clear his sight. "Don't you even know who controls Fomalhaut III?"
"The Instrumentality," said Elaine. "But do we have to go on talking? Let me go or kill me or something. This doesn't make sense. I was tired when I got here, and I'm a million years tireder now."
Mabel said, "Take her along."
"All right," said Charley-is-my-darling. "Is the Hunter there?"
The child D'joan spoke. She had stood at the back of the group. "He came in the other way when she came in the front."
Elaine said to Charley-is-my-darling, "You lied to me. You said there was only one way."
"I did not lie," said he. "There is only one way for you or me or for the friends of the Lady Panc Ashash. The way you came. The other way is death."
"What do you mean?"
"I mean," he said, "that it leads straight into the slaughterhouses of the men you do not know. The Lords of the Instrumentality who are here on Fomalhaut III. There is the Lord Femtiosex, who is just and without pity. There is the Lord Limaono, who thinks that underpeople are a potential danger and should not have been started in the first place. There is the Lady Goroke, who does not know how to pray, but who tries to ponder the mystery of life and who has shown kindnesses to underpeople, as long as the kindnesses were lawful ones. And there is the Lady Arabella Underwood, whose justice no man can understand. Nor underpeople either," he added with a chuckle.
"Who is she? I mean, where did she get the funny name? It doesn't have a number in it. It's as bad as your names. Or my own," said Elaine.
"She's from Old North Australia, the stroon world, on loan to the Instrumentality, and she follows the laws she was born to. The Hunter can go through the rooms and the slaughterhouses of the Instrumentality, but could you? Could I?"
"No," said Elaine.
"Then forward," said Charley-is-my-darling, "to your death or to great wonders. May I lead the way, Elaine?"
Elaine nodded wordlessly.
The mouse-hag Baby-baby patted Elaine's sleeve, her eyes alive with strange hope. As Elaine passed Crawlie's chair, the proud, beautiful girl looked straight at her, expressionless, deadly, and severe. The dog-girl D'joan followed the little procession as if she had been invited.
They walked down and down and down. Actually, it could not have been a full half-kilometer. But with the endless browns and yellows, the strange shapes of the lawless and untended underpeople, the stenches and the thick heavy air, Elaine felt as if she were leaving all known worlds behind.
In fact, she was doing precisely that, but it did not occur to her that her own suspicion might be true.
5
At the end of the corridor there was a round gate with a door of gold or brass.
Charley-is-my-darling stopped.
"I can't go further," he said. "You and D'joan will have to go on. This is the forgotten antechamber between the tunnel and the upper palace. The Hunter is there. Go on. You're a person. It is safe. Underpeople usually die in there. Go on." He nudged her elbow and pulled the sliding door apart.
"But the little girl," said Elaine.
"She's not a girl," said Charley-is-my-darling. "She's just a dog—as I'm not a man, just a goat brightened and cut and trimmed to look like a man. If you come back, Elaine, I will love you like God or I will kill you. It depends."
"Depends on what?" asked Elaine. "And what is 'God'?"
Charley-is-my-darling smiled the quick tricky smile which was wholly insincere and completely friendly, both at the same time. It was probably the trademark of his personality in ordinary times. "You'll find out about God somewhere else, if you do. Not from us. And the depending is something you'll know for yourself. You won't have to wait for me to tell you. Go along now. The whole thing will be over in the next few minutes."
"But D'joan?" persisted Elaine.
"If it doesn't work," said Charley-is-my-darling, "we can always raise another D'joan and wait for another you. The Lady Panc Ashash had promised us that. Go on in!"
He pushed her roughly, so that she stumbled through. Bright light dazzled her and the clean air tasted as good as fresh water on her first day out of the space-ship pod.
The little dog-girl had trotted in beside her.
The door, gold or brass, clanged to behind them.
Elaine and D'joan stood still, side by side, looking forward and upward.
There are many famous paintings of that scene. Most of the paintings show Elaine in rags with the distorted, suffering face of a witch. This is strictly unhistorical. She was wearing her everyday culottes, blouse, and twin over-the-shoulder purses when she went in the other end of Clown Town. This was the usual dress on Fomalhaut III at that time. She had done nothing at all to spoil her clothes, so she must have looked the same when she came out. And D'joan—well, everyone knows what D'joan looked like.
The Hunter met them.
The Hunter met them, and new worlds began.
He was a shortish man, with black curly hair, black eyes that danced with laughter, broad shoulders, and long legs. He walked with a quick sure step. He kept his hands quiet at his side, but the hands did not look tough and calloused, as though they had been terminating lives, even the lives of animals.
"Come up and sit down," he greeted them. "I've been waiting for you both."
Elaine stumbled upward and forward. "Waiting?" she gasped.
"Nothing mysterious," he said. "I had the viewscreen on. The one into the tunnel. Its connections are shielded, so the police could not have peeped it."
Elaine stopped dead still. The little dog-girl, one step behind her, stopped too. She tried to draw herself up to her full height. She was about the same tallness that he was. It was difficult, since he stood four or five steps above them. She managed to keep her voice even when she said:
"You know, then?"
"What?"
"All those things they said."
"Sure I know them," he smiled. "Why not?"
"But," stammered Elaine, "about you and me being lovers? That too?"
"That too." He smiled again. "I've been hearing it half my life. Come on up, sit down, and have something to eat. We have a lot of things to do tonight, if history is to be fulfilled through us. What do you eat, little girl?" said he kindly to D'joan. "Raw meat or people food?"
"I'm a finished girl," said D'joan, "so I prefer chocolate cake with vanilla ice cream."
"That you shall have," said the Hunter. "Come, both of you, and sit down."
They had topped the steps. A luxurious table, already set, was waiting for them. There were three couches around it. Elaine looked for the third person who would join them. Only as she sat down did she realize that he meant to invite the do
g-child.
He saw her surprise, but did not comment on it directly.
Instead, he spoke to D'joan.
"You know me, girl, don't you?"
The child smiled and relaxed for the first time since Elaine had seen her. The dog-girl was really strikingly beautiful when the tension went out of her. The wariness, the quietness, the potential disquiet—these were dog qualities. Now the child seemed wholly human and mature far beyond her years. Her white face had dark, dark brown eyes.
"I've seen you lots of times, Hunter. And you've told me what would happen if I turned out to be the D'joan. How I would spread the word and meet great trials. How I might die and might not, but people and underpeople would remember my name for thousands of years. You've told me almost everything I know—except the things that I can't talk to you about. You know them too, but you won't talk, will you?" said the little girl imploringly.
"I know you've been to Earth," said the Hunter.
"Don't say it! Please don't say it!" pleaded the girl.
"Earth! Manhome itself?" cried Elaine. "How, by the stars, did you get there?"
The Hunter intervened. "Don't press her, Elaine. It's a big secret, and she wants to keep it. You'll find out more tonight than mortal woman was ever told before."
"What does 'mortal' mean?" asked Elaine, who disliked antique words.
"It just means having a termination of life."
"That's foolish," said Elaine. "Everything terminates. Look at those poor messy people who went on beyond the legal four hundred years." She looked around. Rich black-and-red curtains hung from ceiling to floor. On one side of the room there was a piece of furniture she had never seen before. It was like a table, but it had little broad flat doors on the front, reaching from side to side; it was richly ornamented with unfamiliar woods and metals. Nevertheless, she had more important things to talk about than furniture.
She looked directly at the Hunter (no organic disease; wounded in left arm at an earlier period; somewhat excessive exposure to sunlight; might need correction for near vision) and demanded of him:
"Am I captured by you, too?"
"Captured?"
"You're a Hunter. You hunt things. To kill them, I suppose. That underman back there, the goat who calls himself Charley-is-my-darling—"
"He never does!" cried the dog-girl, D'joan, interrupting.
"Never does what?" said Elaine, cross at being interrupted.
"He never calls himself that. Other people, underpeople I mean, call him that. His name is Balthasar, but nobody uses it."
"What does it matter, little girl?" said Elaine. "I'm talking about my life. Your friend said he would take my life from me if something did not happen."
Neither D'joan nor the Hunter said anything.
Elaine heard a frantic edge go into her voice. "You heard it!" She turned to the Hunter. "You saw it on the viewscreen."
The Hunter's voice was serenity and assurance: "We three have things to do before this night is out. We won't get them done if you are frightened or worried. I know the underpeople, but I know the Lords of the Instrumentality as well—all four of them, right here. The Lords Limaono and Femtiosex and the Lady Goroke. And the Norstrilian, too. They will protect you. Charley-is-my-darling might want to take your life from you because he is worried, afraid that the tunnel of Englok, where you just were, will be discovered. I have ways of protecting him and yourself as well. Have confidence in me for a while. That's not so hard, is it?"
"But," protested Elaine, "the man—or the goat—or whatever he was, Charley-is-my-darling, he said it would all happen right away, as soon as I came up here with you."
"How can anything happen," said little D'joan, "if you keep talking all the time?"
The Hunter smiled.
"That's right," he said. "We've talked enough. Now we must become lovers."
Elaine jumped to her feet. "Not with me, you don't. Not with her here. Not when I haven't found my work to do. I'm a witch. I'm supposed to do something, but I've never really found out what it was."
"Look at this," said the Hunter calmly, walking over to the wall, and pointing with his finger at an intricate circular design.
Elaine and D'joan both looked at it.
The Hunter spoke again, his voice urgent. "Do you see it, D'joan? Do you really see it? The ages turn, waiting for this moment, little child. Do you see it? Do you see yourself in it?"
Elaine looked at the little dog-girl. D'joan had almost stopped breathing. She stared at the curious symmetrical pattern as though it were a window into enchanting worlds.
The Hunter roared, at the top of his voice, "D'joan! Joan! Joanie!"
The child made no response.
The Hunter stepped over to the child, slapped her gently on the cheek, shouted again. D'joan continued to stare at the intricate design.
"Now," said the Hunter, "you and I make love. The child is absent in a world of happy dreams. That design is a mandala, something left over from the unimaginable past. It locks the human consciousness in place. D'joan will not see us or hear us. We cannot help her go toward her destiny unless you and I make love first."
Elaine, her hand to her mouth, tried to inventory symptoms as a means of keeping her familiar thoughts in balance. It did not work. A relaxation spread over her, a happiness and quiet that she had not once felt since her childhood.
"Did you think," said the Hunter, "that I hunted with my body and killed with my hands? Didn't anyone ever tell you that the game comes to me rejoicing, that the animals die while they scream with pleasure? I'm a telepath, and I work under license. And I have my license now from the dead Lady Panc Ashash."
Elaine knew that they had come to the end of the talking. Trembling, happy, frightened, she fell into his arms and let him lead her over to the couch at the side of the black-and-gold room.
A thousand years later, she was kissing his ear and murmuring loving words at him, words that she did not even realize she knew. She must, she thought, have picked up more from the storyboxes than she ever realized.
"You're my love," she said, "my only one, my darling. Never, never leave me; never throw me away. Oh, Hunter, I love you so!"
"We part," he said, "before tomorrow is gone, but shall meet again. Do you realize that all this has only been a little more than an hour?"
Elaine blushed. "And I," she stammered, "I—I'm hungry."
"Natural enough," said the Hunter. "Pretty soon we can waken the little girl and eat together. And then history will happen, unless somebody walks in and stops us."
"But, darling," said Elaine, "can't we go on—at least for a while? A year? A month? A day? Put the little girl back in the tunnel for a while."
"Not really," said the Hunter, "but I'll sing you the song that came into my mind about you and me. I've been thinking bits of it for a long time, but now it has really happened. Listen."
He held her two hands in his two hands, looked easily and frankly into her eyes. There was no hint in him of telepathic power.
He sang to her the song which we know as I Loved You and Lost You.
I knew you, and loved you,
and won you, in Kalma.
I loved you, and won you,
and lost you, my darling!
The dark skies of Waterrock
swept down against us.
Lightning-lit only
by our own love, my lovely!
Our time was a short time,
a sharp hour of glory—
We tasted delight
and we suffer denial.
The tale of us two
is a bittersweet story,
Short as a shot
but as long as death.
We met and we loved,
and vainly we plotted
To rescue beauty
from a smothering war.
Time had no time for us,
the minutes, no mercy.
We have loved and lost,
and the world goes on.
&nbs
p; We have lost and have kissed,
and have parted, my darling!
All that we have,
we must save in our hearts, love.
The memory of beauty
and the beauty of memory . . .
I've loved you, and won you,
and lost you, in Kalma.
His fingers, moving in the air, produced a soft organ-like music in the room. She had noticed music-beams before, but she had never had one played for herself.
By the time he was through singing, she was sobbing. It was all so true, so wonderful, so heartbreaking.
We the Underpeople Page 5